Keypad poly 1 & 2 & controller templates

The idea behind these patches was to use multiple keyboard modules in order to create a polyphonic, self-contained synthesizer within ZOIA. Each row represents a keyboard module assigned its own, articulated voice, and the rows are arranged to mirror the strings of a guitar, from E4 on the top row to A2 on the bottom row.

I included two different synthesizers; Keypad poly 1 is a square wave synth, with a delay; Keypad 2 is a sine wave synth with some basic sound mangling (aliasing, oscillator feedback) and a reverb. Both remind me a lot of synth sounds that might have been used on old Doctor Who episodes, for what that’s worth. BBC Radiophonic Workshop stuff; Daleks are coming!

Included in the .zip file are also two templates. They have MIDI note out modules connected to each row, but these can be removed, if you would rather develop an internal synth voice (to do so, merely move the keyboard modules until their outputs are exposed before making connections). One uses the same “guitar” configuration, while the second has an A to A setting that covers the minor scale across five octaves (there is a transpose control on the page with the MIDI out modules which allows you to freely transpose the key).

Included files:
Keypad poly 1
Keypad poly 2
Keypad cont(roller) 1
Keypad cont(roller) 2

The synth voices are in stereo.

A special thanks to my patrons on Patreon for their support: Rob Flax, Stepan Grammatik, brockstar, Mats Unnerholm, D Sing, Will Scott, drew batchelor, Miguel, Steve Bragg, Joab Eastley, Tomi Kokki, Mitch Lantz, Ben Norland, Daniel Morris, Roman Jakobej, Mark Crosbie, Steve Codling, Timothy Cleary, Soren Made, and Ken Luke!

If you would like to support my work on ZOIA, please visit patreon.com/chmjacques

Controls:

All patches:

Middle stompswitch, latching — octave up

Right stompswitch, latching — octave down

These controls aren’t exclusive, so if the octave down is active, and the octave up is subsequently engaged, the result will be the original octave. When you release the octave down control, then the notes will go up an octave above the original.

Keypad poly 1:

A square wave synth. The filter and amp share an exponential envelope. There is a wide-ranging vibrato LFO, and a modulated delay adds some atmosphere before exiting in stereo.

Left stompswitch, momentary — tap tempo for the delay

The following controls are found on the second page of the patch:

Resonance — resonance for the filter; can increase gain at high settings

Osc. slew — portamento/glide; since each voice is independent, only works within a given keyboard module’s notes, not across rows

Attack, decay, sustain, release — controls for the amp/filter envelopes

Vibrato rate and depth — sine wave vibrato; for subtle vibrato use _very_ light settings for depth, e.g. .001 or .002. For more extreme vibratos, push the depth and rate higher.

Delay feedback — number of repeats for the delay

Delay mix — mix for the delay

Keypad poly 2:

A sine wave synth. There is an amp per voice, but the filter is global and functions more as a “tone-shaper” than a dynamic part of the synth. The oscillators can be fed back into themselves for very basic FM sounds, and an aliaser precedes the filter for added atonality. The filter leads to a reverb lite module before exiting in stereo.

Left stompswitch, latching — turns on a random LFO which modulates the aliaser frequency

The following controls are found on the second page of the patch:

Osc. slew — portamento/glide; since each voice is independent, only works within a given keyboard module’s notes, not across rows

FM — amount the oscillator is fed back into itself; at low settings, it can make the voices sound “thicker” like a chorus, then harmonics are added, making the sound sharper (somewhat like a sawtooth wave), then as more distortion is introduced noise predominates the sound

Attack, decay, sustain, release — controls for the amp envelopes

Alias frequency — frequency of the aliaser; below .500, the results become increasingly atonal, ring-mod-ish, with unexpected tremolos and distortion (lots of fun!)

Filter frequency — this functions as a sort of tone control for the patch and keeps the aliaser “in check”

Reverb decay and mix — should be familiar; the reverb lite pairs particularly well with these sorts of sounds, I think

  • Platform:
  • Category: Other Synthesizer
  • Revision: 1.0
  • License: Creative Commons Attribution Share Alike 4.0
  • Views: 264
  • Modified: 2 months ago
Chat about this patch on Discord! Download (79)
Appreciate 1

Leave a Reply